Katalin Gabnai: Don Carlos – a special something to watch
I have already watched the pre-premiere, but I can tell that who have to go to watch this performance in autumn. As soon as they can, the writers should be ready, to be able to experience that Schiller-like version of the dramaturgical “acceleration”, which can be compared only to that feeling, when a person is pushed into the back of his seat on the aeroplane, which is about to take off.
This effect can be raised by those performance of Don Carlos, which is just middle levelled, but this present, lighting event strengthens all of it. The directors and designers should go to watch appearing the upcoming scenes of the play, between Judit Gombár’s central fountain-like, polygonal bench, in the atmosphere of a theatre of room. Those should go, who can enjoy the actors’ works. We can see in her peak form, Gabriella Varga, who returns after her maternity leave, in the role of Eboli. Károly Kuna appears in the role of King Philip, who has been forgotten from time to time, just to prove again, that only a few people have this kind of dark and burning presence, maybe Viktor Fülöp was the last one, around whom the air could boil that way. (Maybe there are some people, who can still remember the famous dancer’s last moments in the King Deer in Radnóti Theatre.) Then those viewers should go, who are selfish and hopeful, and who by seeing The Duke of Alva by László Keszég, who has been carved of marble, can be surprised and calmed down: there are still Hungarian actors, in whom the ideas and feeling are presented as charge, and who can stand in for that kind of power, which we have not got used to in our theatres. We can also watch Erika Tankó as Elisabeth, Zoltán Lendváczky as Don Carlos, Gyöngyi Balsek in more roles, and Ákos Orosz as a magnetic Marquis de Posa, who is not from our world.
I have to admit, that the text of the advertisement, which is there to advertise Don Carlos and Egmont in autumn, can use the expression of “minimalist monumentalism” in connection with the given style with good reason. We can experience tectonic events here, on the force field of a room theatre.
Katalin Gabnai, Mindenki Színháza, 2012
(translated by: Veronika Fülöp)
This effect can be raised by those performance of Don Carlos, which is just middle levelled, but this present, lighting event strengthens all of it. The directors and designers should go to watch appearing the upcoming scenes of the play, between Judit Gombár’s central fountain-like, polygonal bench, in the atmosphere of a theatre of room. Those should go, who can enjoy the actors’ works. We can see in her peak form, Gabriella Varga, who returns after her maternity leave, in the role of Eboli. Károly Kuna appears in the role of King Philip, who has been forgotten from time to time, just to prove again, that only a few people have this kind of dark and burning presence, maybe Viktor Fülöp was the last one, around whom the air could boil that way. (Maybe there are some people, who can still remember the famous dancer’s last moments in the King Deer in Radnóti Theatre.) Then those viewers should go, who are selfish and hopeful, and who by seeing The Duke of Alva by László Keszég, who has been carved of marble, can be surprised and calmed down: there are still Hungarian actors, in whom the ideas and feeling are presented as charge, and who can stand in for that kind of power, which we have not got used to in our theatres. We can also watch Erika Tankó as Elisabeth, Zoltán Lendváczky as Don Carlos, Gyöngyi Balsek in more roles, and Ákos Orosz as a magnetic Marquis de Posa, who is not from our world.
I have to admit, that the text of the advertisement, which is there to advertise Don Carlos and Egmont in autumn, can use the expression of “minimalist monumentalism” in connection with the given style with good reason. We can experience tectonic events here, on the force field of a room theatre.
Katalin Gabnai, Mindenki Színháza, 2012
(translated by: Veronika Fülöp)